Renowned rhythm player, researcher of Sattrya music and Tabla player Keshab Changkakati

 Renowned rhythm player, researcher of Sattrya music and Tabla player

                                Keshab Changkakati

1.1 Born

Keshab Changkakati, a celebrated rhythm player, researcher of Sattriya music, and an accomplished tabla maestro was born on 1 February 1927 CE in the serene environs of Daimukhia Tea Estate, near Dumduma, Assam. His life journey, which illuminated the cultural and musical heritage of Assam, concluded on 12 October 1981 CE at his residence in East Sarania, Guwahati. Keshab was the son of Mokshada Devi and Prakash Chandra Changkakati, whose lineage carried a profound historical and cultural significance.

1.2 Changkakati Dynasty

The origins of the Changkakati dynasty are deeply entwined with the rich cultural and administrative history of Assam. Keshab Changkakati’s distinguished ancestor, Nityananda alias Nitai, was invited to Assam by the Ahom king, Sukhaamphaa Khuraraja (1552–1603 CE), from the Mathura Krishna Temple. The dynasty is believed to have migrated to Mathura from the illustrious land of Kanauj. Nityananda, a scholar of repute, was the son of Gopaldev, a renowned Vaishnava theologian, celebrated in Mathura as Acharya Gopaldev Bhatt Chaturvedi.

Nityananda's erudition was remarkable, being proficient in Sanskrit, Persian, and Urdu. Recognizing their intellectual and artistic abilities, the Ahom kings entrusted members of this dynasty with the title of Changkakati officers. This designation entailed responsibilities such as maintaining royal accounts, treasury records, drafting official correspondence, and performing related administrative tasks. The name Changkakati itself is emblematic, combining "Chang," signifying the Royal Palace, and "Kakati," meaning scribe or writer.

Additionally, the Changkakatis were esteemed court musicians, their songs adding an element of cultural sophistication to royal assemblies. Despite adopting the title Changkakati for official purposes, they retained their ancestral spiritual designation, Devsharma, for religious activities. The legacy of this lineage culminated in Keshab Changkakati, the twelfth-generation bearer of this distinguished heritage in Assam.

1.3 Musical Background of the Changkakati Dynasty

The history of the Changkakati dynasty is deeply rooted in the sociopolitical upheavals of Assam, particularly during the decline of the Ahom Empire. The third Burmese invasion of Assam in 1819 CE forced the Ahom king Chandrakant Singh and his loyal officers to seek refuge in the British-ruled Goalpara region. Among those who fled was Pinaki, a member of the Changkakati lineage, who eventually sought asylum under the protection of the Bijni king.

Following the Treaty of Yandaboo in 1826 CE, which marked the British annexation of Assam, the displaced Ahom communities gradually returned to their homeland. Pinaki, too, journeyed back, initially settling in Chenga near Hajo before moving to Kurua, close to Guwahati. Pinaki's brother-in-law, Harkanta, held significant positions as the Majinda Barua of the Ahom king and the Sadramin of the British Court. Residing in sparsely populated North Guwahati, Harkanta invited Pinaki to join him there, giving rise to the “North Guwahatiyan Changkakati” clan.

Reintegrating into royal service, Pinaki became a Changkakati officer for the Lalbandi king. His legacy continued through his youngest son, Durvadatta, and grandson, Durlabh, both of whom upheld the administrative and cultural responsibilities of the Changkakati officers.

During British rule, the demographic composition of Assam underwent significant changes. The arrival of communities from Bengal, Mymensingh, Sylhet, and other regions introduced new elements to Assamese society. While these migrations facilitated economic growth, they also disrupted the cultural fabric of the erstwhile Ahom kingdom. In response, the Changkakati lineage emerged as torchbearers of Assam’s indigenous cultural and musical heritage.

The Changkakati officers were pivotal in preserving and promoting the traditional music of Assam. Their repertoire included Bargit, Totoy, Bhatima, Dihanaam, Bianam, Dasham, Janmastomi Dance & Geet, and other classical forms. Their dedication to these art forms served as a cultural renaissance during a time of social transformation.

According to novelist Rajanikanta Bordoloi, Durvadatta was a gifted singer whose voice resonated with depth, precision, and clarity. He fostered a musical milieu within his household, promoting Assamese music while incorporating influences from Bengali and Hindustani traditions. Notably, he invited musicians to perform at the Kamakhya Temple, further enriching the region’s cultural landscape.

Durvadatta’s disciples included luminaries such as Umakant Majinda Barua, Dehiram Patgiri, Durlabh Changkakati, Kirtinath Bardoloi, and Prafulla Barua, who carried forward his musical legacy. Among them, Dr. Debendra Chandra Changkakati, the son of Durlabh Changkakati, emerged as a celebrated musician and scholar. Dr. Changkakati authored the seminal “Sangeet-Upakramanika” in two volumes, a landmark work that provided the first notations of Bargit in Assamese. This publication marked a significant milestone in the documentation and preservation of Assamese music.

Thus, the Changkakati dynasty played a crucial role in safeguarding and advancing the cultural heritage of Assam, bridging traditional practices with evolving societal norms

2.1 Academic Education

Keshab Changkakati's academic journey reflects his family’s dedication to education and cultural heritage. Although his father resided in the Daimukhia Tea Esatae, he sent the young Keshab to their ancestral home in North Guwahati at fourteen for higher studies. In North Guwahati, Keshab was nurtured under the care of his widowed elder mother Jiveshwari and his uncle, Dr. Rajat, who played pivotal roles in shaping his early education.

He attended Cotton Collegiate High School in Guwahati, where he graduated before enrolling at Cotton College (now Cotton University) for his Intermediate Arts (IA). Seeking broader horizons, Keshab preceded to Banaras Hindu University (BHU) for further studies, accompanied by his friend, the future Chief Minister of Assam, Hiteshwar Saikia. Despite pursuing his degree, Keshab’s deep interest in music led him to enroll in the University of Lucknow, where he ultimately obtained a degree in Arts, thus balancing his academic pursuits with his growing passion for music.

2.2 Musical Education

Steeped in the rich musical traditions of his ancestry, Keshab Changkakati found himself in an environment conducive to nurturing his artistic inclinations when he moved to North Guwahati. Drawn to music from an early age, he began practicing his voice and experimenting with his uncle’s harmonium. His musical interest deepened during his time at Cotton College in Guwahati, where he encountered Bansivat Pandey, a priest and musician at the Hanuman Temple near Fanchi Bazar.

Pandey Pandit, known for his mastery of the Pakhawaj and Dhrupad singing, performed during the temple’s evening worship. Keshab, alongside culturally vibrant youths like Kshirada Biswaya, Bhupen Hazarika, Nirod Roy, Nirod Sarkar, Tilok Das and others, participated in these musical sessions. Under Pandey Pandit’s guidance, Keshab learned the Dhrupad and the Pakhawaj, laying the foundation for his future musical explorations.

Young Keshab Changkakati at Lucknow

Keshab’s musical education took a decisive turn when he moved to Lucknow for higher studies. He enrolled in the prestigious Maris Music College (later Bhatkhande Sangeet Vidyapeeth), renowned for its faculty of leading Indian musicians such as Ratanjunkar, V.S. Nigam, V.G. Yoga, Ustad Ahmadjan Thirkwa, Pandit Sakharam Rao, and others. Initially, Keshab pursued the Pakhawaj, becoming a disciple of Pandit Sakharam Rao, before shifting his focus to the Tabla under the legendary Ustad Ahmadjan Thirkwa.

At Maris Music College, Lucknow

(Teacher: the great Tablist Ustad Ahmadjan Thirakuwa)

However, Ustad Thirkwa's demanding schedule limited Keshab’s access to advanced techniques. An inspiring encounter with Yogmaya Bhattacharya (later Shukla) at the college’s annual festival introduced him to the teachings of Ustad Munne Khan of the Farrukhabad Gharana. Through Yogmaya, Keshab became Ustad Khan’s disciple, performing alongside him at various music conferences across India. This opportunity allowed Keshab to accompany iconic artists, including Begum Akhtar and Girija Devi, and further honed his artistry.

While in Lucknow, Keshab forged enduring friendships with illustrious musicians like Ustad Afaq Hussain Khan, Jagjit Singh, Ustad Hasmat Ali Khan, Shatrughan Shukla, Lalji Gokhale, Vimsan Joshi, Samta Prasad, and Birju Maharaj. Before returning to Assam, he earned the prestigious Sangeet Visharad (Bachelor in Music) degree from Bhatkhande Sangeet Vidyapeeth.

Accompanied by Thumri Queen Vidushi Begam Akhtar

Accompanied with Vidushi Girza Devi (Thumri) and Pt Gopal Misra (Sarengi)

Back in Assam, Keshab joined the Guwahati College of Music in Ujan Bazar as a Professor of Tabla. Simultaneously, he began his association with All India Radio (AIR), Guwahati, as a casual staff artist. Over the years, Keshab became a prominent figure at AIR, performing in numerous radio concerts and accompanying distinguished artists. His tenure at AIR, which continued until his demise, left an indelible mark on Assam’s musical landscape.

2.3 The Versatile Musical Legacy of Keshab Changkakati

To be a true musician, one must not only excel in performing but also possess the ability to teach with clarity and precision while innovating new techniques to enrich the discipline. Keshab Changkakati embodied all these qualities, making him a distinguished figure in Indian music. His collaborations with some of the most prominent musicians from India and beyond during his illustrious career underscore his remarkable contributions. The details of his musical journey are as follows:

2.3.1 Accompaniment with Songs

Keshab Changkakati demonstrated exceptional versatility by accompanying both Hindustani classical musicians and modern vocalists on the tabla, often performing for All India Radio. His repertoire included iconic Assamese artists such as Dr. Bhupen Hazarika, Kshirda Bisaya, Dipali Barthakur, Tariquddin Ahmed, Kula Barua, Pulak Banerjee, Dolly Ghosh, Kamal Narayan Chowdhury, Mihir Bardoloi, Jyotish Bhattacharya, Nanda Banerjee, Parbin Sultana, Deben Sharma and others. He also collaborated with eminent Hindustani classical vocalists, including Birendra Kumar Phukan, Hiren Sharma, Parveen Sultana, Prahlad Das, Ustad Amir Khan, Pandit Vimsen Joshi, Ustad Ghulam Mustafa, PanditYashraj, Chinmay Lahiri, Shobha Gotre, Begum Akhtar, Girija Devi and Shatrughan Shukla, Jaggit Singh, among others. These collaborations showcased his ability to adapt to diverse musical styles and artists.

2.3.2 Accompaniment with Instruments

Changkakati’s expertise extended to accompanying instrumental performances across various classical instruments, including sitar, sarod, violin, flute, and shehnai. He performed with renowned instrumentalists such as Nikhil Banerjee, Jaya Biswas, Pradyunna Das, Jatin Choudhary, Ustad Illius Khan, Ustad Akhtar Khan and Manilal Nag on the sitar, Ustad Ali Akbar Khan and Sipra Banerji on the sarod, Pandit V G Yoga, M Rajan and Shishirkona Dhar Choudhury on the violin, Pandit Raghunath Seth on the flute, and Ustad Bismillah Khan on the shehnai. His technical mastery and adaptability enabled him to seamlessly complement the unique tonalities of these instruments, earning him widespread recognition.

2.3.3 Collaboration with Kathak Dance

Keshab Changkakati also achieved distinction in accompanying Kathak dance, which demands a deep understanding of rhythm and tempo. His friendship with Pandit Birju Maharaj during his years in Lucknow enriched his knowledge of laya-tatkar and gatbhao, vital elements of Kathak. Upon returning to Assam, he collaborated with Charu Bordoloi and his disciples and accompanied notable dancers such as Mira Das and Nitya Buragohain during the 1970s. His rhythmic sophistication and scholarly understanding were widely acclaimed in these performances.

2.4 Mastery of Gharana Techniques

Keshab Changkakati’s journey in mastering the intricate techniques of the tabla was both challenging and rewarding. He had close associations with stalwarts like Ustad Afaq Hussain Khan, who introduced him to the "Tabla Baya" technique perfected by Ustad Wajid Hussain. Similarly, his interactions with Ustad Hashmat Ali Khan helped him acquire the distinctive Qaida patterns of the Ajrada Gharana.

Despite initial barriers in learning from Ustad Ahmadjan Thirkwa, Changkakati managed to master many of the maestro’s techniques through his gurubhai, Rojuel Layel (Raju), a celebrated tabla accompanist. Tragically, Raju’s untimely demise in 1966 interrupted his education, but Changkakati persisted, later reconnecting with colleagues like Lalji Gokhale and Sudhir Saxena in the 1970s to refine his art.

With Gurubhai Rojuel Layel (Raju)

2.5 Establishing a Scientific Approach

Changkakati's collaboration with tabla virtuosos like Kanai Dutta and Shankar Ghosh helped him establish a scientific methodology for tabla playing that departed from the traditional gharana-bound practices. He developed a distinct playing style by exchanging ideas and techniques, blending the traditional precision of Hindustani music with his innovative approach. This style, recognized in the 1980s as a uniquely Assamese tabla tradition, was lauded by eminent players like Gangadhar Mishra and Ram Kumar Sharma.

2.6 A Legacy of Innovation

Keshab Changkakati's contributions went beyond his performances. He was an innovator, a teacher, and a bridge between tradition and modernity. By pioneering a distinctive style of tabla playing and imparting his knowledge to disciples, he ensured the continuation of Assam’s rich musical legacy while contributing to the evolution of Indian classical music. His dedication to his craft and his ability to harmonize with diverse art forms remain a testament to his enduring legacy in the world of music.

3.0 The Legacy of Keshab Changkakati’s Contributions to Music Education

The Guwahati College of Music, situated on the first floor of Bhaskar Natya Mandir in Ujan Bazar, played a pivotal role in shaping the cultural and academic landscape of Assamese music. Its first president, Sundar Bordoloi, was a trailblazer in the field. Here, Keshab Changkakati began his journey as a tabla instructor, introducing a scientific approach to tabla teaching in Assam for the first time. Under his guidance, prominent individuals like Dr. Khagen Bhuyan, Dr. Girin Das, Kantil Bharali and others earned their Bachelor in Music degrees. The inaugural batch also included disciples like Ashok Barthakur, Manik Deb, Babul Das and many more.

Young Girin Das played Tabla at USA

Among these students, Dr. Girin Das emerged as a symbol of Changkakati’s far-reaching influence. An engineer at the renowned Boeing Company in the USA, Dr. Das not only approved the airworthiness of Boeing aircraft but also used his tabla skills to secure a teaching position in the United States when a scholarship was delayed. He honored his guru by naming the auditorium of his Hotel India in Seattle the Keshab Changkakati Auditorium, complete with a beautifully adorned photograph of his mentor. During his tenure in the USA, Dr. Das practiced tabla with stalwarts like Ustad Zakir Hussain, who even learned some of Keshab Changkakati's unique tabla compositions. Dr. Das also had the privilege of accompanying Pandit Ravi Shankar on multiple occasions, further amplifying the global resonance of his mentor’s teachings.

Dr Girin Das with Pt Ravi Sankar before the concert

3.1 Overcoming Struggles to Foster Musical Excellence

Despite his contributions to music, Keshab Changkakati faced significant financial hardships. While working as a casual staff artist at All India Radio, he taught at the Guwahati College of Music and offered private lessons at his rented house near Jorpukhuri. However, these efforts were insufficient, and the tragic loss of his infant daughter, Ranju, due to a mild fever underscored the harsh realities of his life. To make ends meet, he began teaching tabla at a music college in Bishnupur, Shillong, on weekends. Here, he mentored disciples like Kamal Kakati and Sudhir Chowdhury, the latter of who collaborated with Dr. Bhupen Hazarika for many years.

At his Gurukul in Jorpukhuri, disciples from Barpeta, Nalbari, North Bengal, and other regions came to learn. Many of these students later became tabla players for yatra parties and touring theatres, including Gopi Das of Barpeta, known as Gopi Ustad, who served as the principal of the Barpeta College of Music in his later years.

3.2 A New Chapter: The Move to Chanmari

When All India Radio moved from Ujan Bazar to Chanmari, Changkakati shifted his residence to Pub Sarania, a piece of land purchased by his father. This marked the relocation of his Gurukul, which became a hub for tabla education. He also taught at Rupjyoti Sangha, nurturing talents like Dr. Anjanjyoti Chowdhury, Amar Bhagwati, and Hangsa Sarma.

Prominent musicians like Ustad Amir Khan, Pandit Bhimsen Joshi, and VG Yoga often visited the nearby residence of Mr. Lahiri, a judge and music enthusiast. These luminaries also dined at Changkakati’s house, which had previously hosted legends such as Begum Akhtar, Girija Devi, Ustad Ilyas Khan, and Rouzuel Layel during its days at Jorpukhuri.

3.3 Sustaining a Legacy of Innovation

In the 1970s, Keshab Changkakati expanded his academic contributions by teaching tabla at Narayan Sangeet College in Maligaon. He continued this role until just before his passing while maintaining his Gurukul education at his Chanmari residence. The Gurukul flourished even after his demise in the 1980s, producing accomplished tabla players like Haren Dutta, Jyotindra Narayan Dutta Barua, Makunda Sharma, Pritam Barua, Soumitra Shaikia, Gautam Talukdar, Gautam Kakati, Kaveri Bhattacharya, Anjana Devi, Phatik Seal, Pradeep Goswami, Bhaskar Kandali, Ghanashyam Boro, Ajit Deka and many others. Renowned flautist Prabhat Sharma, musician Ramen Chowdhury, and composer duo Jitu-Tapan were among the notable artists who frequented the Gurukul during its prime.

3.4 The Unconventional Tutelage of Dilip Changkakoty

Among Keshab Changkakati's disciples was his son, Dilip Changkakoty, a member of ICOMOS and an expert in intangible cultural heritage. Unlike other students, Dilip was indirectly trained; he mastered the nuances of tabla playing by observing his father teach others and through hands-on guidance in music research. This unconventional yet effective pedagogy ensured that Dilip imbibed his father’s profound musical knowledge while pursuing his unique heritage and cultural preservation path.

Keshab Changkakati's life was a testament to resilience, innovation, and unwavering dedication to music. Through his teachings, performances, and the Gurukul tradition he upheld, he left an indelible mark on the cultural landscape of Assam and Indian classical music.

4.1 The Personal and Spiritual Journey of Keshab Changkakati

In 1955 CE, Keshab Changkakati married Sarat Kumari, the granddaughter of Rajnikant Bordoloi, an esteemed administrator, tea farmer, and novelist. Despite their union's blessings, the couple faced a profound tragedy when their first child passed away in infancy.

Mr & Mrs Changkakati with their first son

To be recognized as a true artist requires not only talent but also deep humility and sensitivity. Without humility, politeness, and love for their chosen medium, an artist cannot touch the hearts of their audience. Whether it be a musician with their instrument, a writer with their pen, or a driver with their car, a deep, intimate connection with one’s tool of expression is vital. This bond creates a radiating aura of creativity that reaches and resonates with countless souls. The strength and duration of this resonance depend on the energy and purity of the artist’s intentions. Great practitioners of Indian music have embodied this principle for centuries, leading to the recognition of music as the highest form of para-vidya—a supreme knowledge in Indian tradition.

4.2 The Spiritual Connection between Musician and Instrument

Hunger, responsibility, and life's struggles can disrupt the solitary practice necessary for mastery. When a musician's focus wavers, their instrument often becomes uncooperative, silent, or resistant. For percussionists, in particular, the relationship with their instrument must be one of love, respect, and devotion. Only then does the instrument respond to the player’s emotions, communicating in its own unique voice.

In Eastern India, percussion instruments are often regarded as divine entities and are worshipped as such. However, their nature has a profound paradox: they are crafted using the lifeless skin of animals, which carries the quantum imprints of the animal’s life struggles. Ancient Indian percussionists understood these subtle metaphysical reactions with their wisdom and spiritual insight. They harnessed this knowledge to bring their instruments into harmony, creating a sacred dialogue between the living and the inanimate.

4.3 Indian Classical Music: From Temples to Stages

Indian classical music, deeply rooted in spirituality, was traditionally performed in temples or royal courts. These performances, seen as offerings to the divine, embodied the sacred connection between art and spirituality. However, the political landscape shifted after India’s independence, leading to the dissolution of princely states and the decline of courtly patronage for classical music.

This transformation brought classical music to public stages, where musicians began to see their audience as Lord Janardan—another form of God. Yet, it took nearly three decades for classical music to establish itself among the masses. Its appeal grew when students in schools and colleges began practicing classical music alongside their academic pursuits, performing on public stages, and introducing the art form to a younger generation.

4.4 The Role of Bengali Influence and Yatra Parties

In colonial Assam, the Bengali community that arrived with the British played a significant role in nurturing musical traditions. Their introduction of the Bengalee Yatra Party, although unscriptural, created an environment where classical music could flourish. This cultural influence inspired many Assamese youth to pursue formal musical education in places like Lucknow after India’s independence.

This movement marked a crucial chapter in the evolution of Assam’s musical heritage, bridging the gap between tradition and modernity, and ensuring the continuation of Indian classical music in a changing world.

To be continued.......